Sat 3-Mar-2018 - Sun 3-Jun-20182018 Biennial of Australian Art: Divided WorldsArt Gallery of South Australia, Anne & Gordon Samstag Museum of Art at the University of South Australia, JamFactory and Santos Museum of Economic Botany in the Adelaide Botanic Garden.North Terrace
Australia

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Art Gallery of South Australia, Anne & Gordon Samstag Museum of Art at the University of South Australia, JamFactory and Santos Museum of Economic Botany in the Adelaide Botanic Garden. (Australia)

The 2018 Adelaide Biennial
presents an allegory of human society, one that meditates on the
drama of the cosmos and evolution; on the past and the future; and on beauty and the environment.

2018 is the bicentennial of Mary Shelley’s novel, Frankenstein; or, The Modern Prometheus. That her story — of a man who generates life through scientific experimentation, is horrified by and rejects his creation, thereby unleashing a string of tragic events — would seem so timely after 200 years is remarkable. This exhibition seeks to illustrate through contemporary visual art practice, why the novel continues to be so relevant.

Enter the world of our utopian future, where everything is as we want it to be. Mathematical precision, quantum physics, utopian worlds, body modification, internet dating and Instagram filters. Why do humans strive for perfection?

Exodus heralds a new chapter in the history of The Vivian, as it’s the first show curated by our Director, Scott Lawrie. With a hand-selected group of some of the most outstanding artists working in New Zealand and Australia today

Soft Core presents artistic practices that explore the many facets of ‘softness’ - from large-scale inflatables to forms made from soft materials to materials that simply look soft. These artists are making works that demand attention - forms that are not simply bumped into while looking at paintings.

All the better to see you with: Fairy tales transformed, the Ian Potter Museum of Art’s 2017 summer show, traces the genre of the fairy tale, exploring its function in contemporary society.

The exhibition presents contemporary art work alongside a selection of key historical fairy tale books that provide re-interpretations of the classic fairy tales for a 21st-century context, including Little Red Riding Hood, Hansel and Gretel and The Little Mermaid.

Featuring international and Australian artists, All the better to see you with explores artists’ use of the fairy tale to express social concerns and anxieties surrounding issues such as the abuse of power, injustice and exploitation.

Fairy tales can comfort and entertain us; they can divert, educate and help shape our sense of the world; they articulate desires and dilemmas, nurture imagination and encapsulate good and evil. All the better to see you withinvites us to delve into this shadowy world of ancient stories through the eyes of a diverse range of artists and art works.

This major summer exhibition is presented across all three levels of the museum and is accompanied by a catalogue and public and education programs.

The ninth edition of the Momentum Biennial takes the notion of alienation as its starting point. By alienation the curators refer to a contemporary world where alien processes and entities are becoming an integrated part of our lives through technological, ecological and social transformations.

The Universe and Art is an artistic voyage through space, exploring where we came from and where we are going.
It weaves a rich constellation of Eastern and Western philosophies, ancient and contemporary art, and science and religion, to explore how humanity has constantly contemplated its presence in the universe.

Soft Core presents artistic practices that explore the many facets of softness - from large-scale inflatables to forms made from soft materials to materials that simply look soft. These artists are making works that demand attention - forms that are not simply bumped into while looking at paintings.

To bring the issue of genetic mutations to the territory of art, the Australian artist Patricia Piccinini using realism as language, presenting the viewer a universe of unknown creatures, but palpable and surprisingly affectionate. ComCiencia, a neologism that carries a double meaning, connecting conscious and science, offers the public a narrative path between sculptures, drawings, photographs and videos. Curator: Marcello Dantas.

See how contemporary artists interpret things that go vroom across painting, sculpture, photography and more. From Albury's tradition of motorised innovation to modern car culture, SPEED: The Fast and The Curious is where art, technology and our need to always go faster collide.
Featuring newly commissioned works by leading Australian artists, interactive exhibits and works on loan from the Museum of Contemporary Art (Sydney) White Rabbit Gallery (Sydney), the Laverty Collection and private owners.

In her first solo exhibition on the West Coast, Piccinini will exhibit sculptures, drawings and a single channel video exploring possibilities of genetic variation and modification, the natural versus the unnatural, and love and parenthood. Piccinini raises questions about the most important topics of our time from a surreal perspective somewhere between thought and emotion -- but always from a place of empathy and openheartedness.

Patricia Piccinini's first major solo exhibition in Brazil brings together sculptures, video, photography and drawing from the past 15 years of her practice. The title is a neologism in Portuguese, combining the ideas of science, conscience and consciousness alluding to Piccinini's interest in empathy, ethics and humaness in the contemporary world.

Thomas Olbricht shares his personal take on the large installation Helm/Helmet/Yelmo by Los Carpinteros.
Olbricht has chosen his favourite objects from his astonishingly eclectic collection, in a selection based on highly subjective decisions and personal tastes.

Patricia Piccinini's first major solo exhibition in Brazil brings together sculptures, video, photography and drawing from the past 15 years of her practice. The title is a neologism in Portuguese, combining the ideas of science, conscience and consciousness alluding to Piccinini's interest in empathy, ethics and humaness in the contemporary world.

Materia Prima presents outstanding work at the nexus of art and science but it is also a showcase for the notoriously curious and as such the whole exhibition space serves as an inspiring laboratory environment which in a literal way has a set of visitor labs as its central core. This hybrid form of presentation is a clear commitment to the didactic and inspirational potential of art and science and an expression of our wholehearted believe in the impact that art and science can unfold beyond their own territories and in the power and creative energy which can be derived from the collaboration of art and science.

Patricia Piccinini's first major solo exhibition in Brazil brings together sculptures, video, photography and drawing from the past 15 years of her practice. The title is a neologism in Portuguese, combining the ideas of science, conscience and consciousness alluding to Piccinini's interest in empathy, ethics and humaness in the contemporary world.

Le Mois de la Photo a Montreal presents, in partnership with the Galerie de l'UQAM, Another Life, the first solo show of artist Patricia Piccinini in Canada. In keeping with the theme of this 14th edition of the International Biennial of the Contemporary Image, The Post-Photographic Condition, the exhibition Another Life takes an intriguing and ambivalent look at the relationships between species in a context of genetic tinkering. Through photography, video and sculpture, Piccinini creates a world where humans, animals and monsters coexist and even help each other.

Patricia Piccinini is one of Australia's most acclaimed artists who has received worldwide attention for her startling sculptures and digital environments.

Piccinini's work examine the connections between science, nature, art and the environment. She creates an imaginative world peopled with families of charming and slightly unsettling creature; mutants who are half-human and half-beast, baby trucks and humanized scooters who love one another.

Audiences are drawn to Piccinini's work because they appear so real. Her scultptures are familiar yet fantastical, a possible future species from a strange new world.

Piccinini won Australia's National Arts Prize in 2014 following the creation of her spectacular Skywhale which will also be seen in Galway at the Festival. She reperesented Australia at the 50th Venice Biennale in 2003.

An exhibition exploring new concepts of humanness and finely tuned emotional states through contemporary figurative and portrait-related work. Allowing the subjectivity of the works to resonate, the exhibition will enable audiences to engage with the concerns of the individual artists as well as broader social and personal themes. With a contemporary psychological edge, In the flesh: Portraits from the new real will confront emotional experiences of nurture, vulnerability, self-possession, isolation, acceptance and intimacy. The exhibition will present works in diverse media by artists including Jan Nelson, Natasha Bieniek, Patricia Piccinini, Juan Ford, Petrina Hicks, Ron Mueck, Yanni Floros, Sam Jinks and Robin Eley with further works by Michael Zavros, Sam Leach and other contemporary video artists and photographers yet to be selected.

Swell (2000), a three channel video installation by Patricia Piccinini is presented at Screen Space as the opening exhibition in a continuing series: Topographic Resolutions. This series of exhibitions will present significant video works, all older than 10 years, which incorporate computer-generated images in their production of landscape. Future exhibitions in the series include Nicolas Moulin (25 September - 25 October) and Kelly Richardson (6 November - 6 December).
Topographic Resolutions will be accompanied by a broader program of public forums, talks, screenings, catalogues and exhibitions, which will consider issues related to archiving, collecting and conserving media works within the context of digitisation. Render, curated by Simone Hine (details below), inaugurates this, and is also the first Screen Space exhibition in its new gallery (upstairs), in the former Beam Contemporary gallery space.

Melbourne Now celebrates the latest art, architecture, design, performance and cultural practice to reflect the complex cultural landscape of creative Melbourne. This ambitious and far-reaching exhibition across NGV Australia and NGV International will show how visual artists and creative practitioners have profoundly contributed to creating a place with a unique and dynamic cultural identity.

The exhibition will represent Melbourne as a dynamic centre for the production of, debate about, and participation in contemporary art, architecture, design and performance - innovative creative practice in all its forms. Melbourne Now will encompass an ambitious program with well over 120 artists and projects as well as architectural and design projects and commissions, commissions for kids and families and a community hall, which will host a rotating program, encouraging community expression from choirs, workshops, multicultural groups, performance artists, cake decorators, philosophers and poets, among many other activities, public programs and events.

Patricia Piccinini has been selected as the featured artist in the 9th Kaunas Biennial. The Kaunas Biennial is one of the oldest in eastern Europe.
The 9th Kaunas Biennial UNITEXT will create conditions for immediate collisions of an artwork and a spectator, allowing the experience of art as a universal text. Curators of the exhibition together with artists will pursue a concept that is new and unfamiliar in a cultural context and will consolidate it by presenting practical examples. We will go into the question of a unitext, which is the latest link in work -> text -> intertext -> hypertext -> unitext semiotic chain of a philosophic / art criticism / artistic field.

A companion exhibition to Christian Houge's photographs, the group show Call of the Wild features work that reflects our primal, tenacious urge to explore the remote corners of the world, and the simultaneous drives to conquer and embrace nature. Artists include Joseph Beuys, Tim Hawkinson, Birgit Jensen, Michael Light, Patricia Piccinini, Alan Rath, Ed Ruscha, Kiki Smith and Helmut Wietz.

Performed at the Rene Block Gallery in New York in 1974, Joseph Beuys' action, "I Like America and America Likes Me," exemplifies the yearning to embrace the savage, untamed, and instinctual. For three days Beuys remained confined in a room, interacting with a live coyote using symbolic props and gestures. The 37-minute film by Helmut Wietz documenting the performance reveals alternating moments of harmonious co-existence and ominous threat between human and animal.

The shadowy image of a tall ship in Ed Ruscha's "Homeward Bound" calls up associations of the golden age of voyage and adventure, while Birgit Jensen's painting, "Sagarmatha," refers to Mt. Everest, the ultimate aspiration of any mountaineer. Both works play on idealized notions of adventure that ignore the likelihood of tragic consequences. Michael Light's FULL MOON series of photographs depicting NASA's first forays into space points to our fierce determination to conquer new frontiers under the most adverse conditions.

Tim Hawkinson's sculpture "Scout" takes the form of the fringed buckskin outfit worn by Davy Crockett in the TV and movie vernacular of the 1960s. Not only does it speak to Hollywood's romanticized notions of exploration, but also to the role of the senses in discovery. Proportioned as a sensory homunculus, Scout is a distorted scale model reflecting the relative number of nerve endings in different parts of the human body.

The work of Patricia Piccinini also deals with the mutant body. Her hyper-realistic sculptures envision transgenic, humanoid constructs - eerily lifelike hybrids that are both repellant and loveable. Like Piccinini, Kiki Smith's works often merge human and animal forms. The combination of woman and wolf is a frequent occurrence, sometimes in altered versions of the story of Little Red Riding Hood as one of harmonious union.

Alan Rath's robotic sculptures made with feathers, speakers, and custom electronics are feats of engineering genius. Their uncannily animate qualities point to our fascination with the power to engineer life itself, as evidenced by continuing advances in biotechnology, and the increasingly blurred boundaries between the natural and the artificial.

The Wandering: Moving images from the MCA Collection is a touring exhibition showcasing the development of digital video imagery in Australian contemporary art. The artworks range from hand-drawn animations, computer-generated imagery, and video and explores a range of themes, artistic styles, voices, actions and performances by artists working across Australia and internationally. Artists represented include Patricia Piccinini, Vernon Ah Kee, Lauren Brincat, Daniel Crooks, Shaun Gladwell, and Richard Lewer.

This exhibition will bring together a diverse range of contemporary artists, who through their work, confront and challenge our attitudes towards the natural world, and in particular, the animal kingdom.

Humankind has long been fascinated by animals, who in turn, have been subjected to research, collection, categorisation, documentation, display and experimentation. Each of the artists within the exhibition creates works which involve an intensive scrutiny of animals and nature as well as a critical engagement with the ways in which we have attempted to understand and control the natural world.

Fairy Tales, Monsters and the Genetic Imagination is an exhibition of works by contemporary artists who are inspired by the fantastic stories and characters of myths, fairy tales and science fiction in which the boundaries between human and animal are blurred.

Whether in mythology, fairy tales, or science fiction, these stories and their wondrous characters are often thought of as children's entertainment. But as the artists in this exhibition demonstrate, while the novelty of invented creatures makes them delightful or frightening, they also have a serious dimension; they can cause us to reconsider our notions of what it means to be human. This takes on a new immediacy today, when scientists are able to conceive new species by mixing and matching existing genetic material.
For the artists in this exhibition, the hybrid body- whether imagined or potentially real- expresses hidden desires, ancient fears, the intrigue of transformation and the wonderful irrationality of life's paradoxes. Fairy Tales, Monsters and the Genetic Imagination includes approximately 60 paintings, photographs, sculptures and video works by contemporary artists from Canada and around the world, including David Altmejd, the Chapman Brothers, Trenton Doyle Hancock, Patricia Piccinini and Cindy Sherman.

Sun 26-Aug-2012 - Sun 11-Nov-2012BIOS: Concepts of Life in Contemporary SculptureGeorg-Kolbe-MuseumSensburger Allee 25
14055 Berlin
Georg-Kolbe-Museum is located in the former studio-building of the sculptor Georg Kolbe (1877-1947) in Berlin-Westend close to the Olympic Stadium.
Germany

Chromogenic 2012, an exhibition curated by Phillip Virgo and on display in the upper ground floor gallery of Media House, corner of Spencer and Collins Streets, until August 17. The artists featured use chromogenic, or C-type photography, processes to create their prints. Images courtesy of Colour Factory.

Controversy: The power of art explores the social and cultural impact of art through examples that have provoked intense response and controversy.

Beginning with key works that redefined the nature of art itself, including abstract art, Dada and art that provoked public outcry in the history of the Archibald Prize, the exhibition charts the involvement of art with salient social and political issues including social injustice, violence, refugees and the homeless. Controversies over lifestyles and critiques of bourgeois values are considered, alongside the importance of the human body and the volatile re-interpretations that have provoked controversy on several levels, including sexuality, gender and the representation of children in recent art.

This timely exhibition includes works from the late 19th century to the present day and will represent major works by both Australian and international artists working in painting, photography, print-making, video, sculpture, installation and video.

Artists today are depicting animals in their work with remarkable frequency. The exhibition ANIMAL/HUMAN presents a selection of works by contemporary Australian artists that explore our complex, contradictory and sometimes contentious relationship with other species. Their work variously touches on the psychological, ethical, philosophical, scientific and cultural parameters of the relationship. A number of works continue traditions whereby animals are depicted in symbolic or totemic form, are endowed with human qualities, or stand in for the self. Works range from playful to provocative, while others refuse easy categorisation.

Haunch of Venison presents a group show featuring work by Jia Aili, Jitish Kallat, Susanne Kuhn, Justin Mortimer, Patricia Piccinini and Uwe Wittwer.

In this exhibition Haunch of Venison presents Beijing based Chinese artist, Jia Aili for the first time in Europe; Australian artist Patricia Paccinini for the first time in London; and new work by British artist Justin Mortimer for the first time with the gallery.

The Observer includes the work of six international contemporary artists - five painters and one sculptor - who all create art within the realm of figurative realism. Despite the impact of photography, abstraction, film and video, realism and figurative realism continues to be prevalent in contemporary art from around the world. The works on display demonstrate the range of methods used in this genre - from meticulously constructed photo-realist images to looser, more naturalistic work.

The exhibition takes its title from an emblematic work by Australian artist Patricia Piccinini. The Observer, 2010, is a sculpture of a young boy perched precariously on top of an unbalanced stack of chairs that look set to collapse at any moment, a visual metaphor of the world the human race has constructed for itself and the uncertain future it faces. A key theme running through the show is the way in which artists are using figuration to explore a shared sense of crisis, and to create a new iconography of melancholy. The prevalence of melancholic imagery and disturbing themes in the work of these leading figurative artists articulates their perception of a world in turmoil.

Freeze! A diverse selection of works by artists who pursue the narrative possibilities of the photograph as an inherently performative space. These constructed scenes offer socio-political commentary along with poignant insight into the human condition.

Power of Making celebrates the role of making in our lives by presenting an eclectic selection of over 100 exquisitely crafted objects. Curated by Daniel Charny, the exhibition is a cabinet of curiosities showing works by both amateurs and leading makers from around the world, presenting a range of skills with imaginative and spectacular results.

The exhibition Our Origins considers the human inclination to trace our beginnings beyond recorded history and explores our limited capacity to draw conclusive answers about the meaning of life. Sixteen participating contemporary artists use photography, video, drawing, and sculpture to reflect on natural history from a distinctly human and often humorous point of view. This approach emphasizes questions about the paradoxical nature of human intelligence in a universe that cannot be altogether explained. Where did we come from? How is it that we have come to possess a consciousness and a psyche? What does the future hold? The exhibition does not provide explicit answers to the great, mysterious questions of our universe, but rather confronts, and then ponders, the very idea that such questions might be unanswerable.

Thu 16-Sep-2010 - Sat 30-Oct-2010Not as we know itHaunch Of Venison New York1230 Avenue of the Americas
Between 48th and 49th Street
20th Floor
New York, NY 10020

T +1 212 259 0000
F +1 212 259 0001
USA

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Haunch Of Venison New York (USA)

Haunch of Venison is pleased to announce an exhibition of new and recent sculptures by celebrated Australian artist Patricia Piccinini.
Piccinini is best known for creating a transgenic menagerie of hype-realistic creatures made of silicone and fiberglass that simultaneously question the implications of new biotechnologies and elicit diverse and often-conflicting emotional responses from the viewer.

When Alice steps into wonderland, she steps into a parallel world that is both bewildering and elusive. In her naivety she takes the journey, and with her lack of self-awareness, she surrenders to the surreal events creating a magical world. It is what is hoped will happen in this exhibition: for the viewer to be so absorbed into the world of the artist that the real world seems very far away. This international group exhibition will work with sculpture, installations, paintings and videos to create a world that will excite amazement, combining a poetic world with the dark undertones that remind us that, as with kingdom of the tale, it is not always safe and free.

Curator: Juliana Engberg
This is the first major survey of Patricia Piccinini's works exhibited in Tasmania. In Evolution she takes us on an incredible journey to encounter the possible flora and fauna of our future world.
Patricia has received worldwide attention for her startling sculptures, digital environments and images that compel us to consider an ecology and biology that blend species in the frontier world of experimental technological and biological environments. Her works take us to a post-Darwinian destination populated with fantastical creatures, new communities and bioethical conundrums.

This solo exhibition includes a selection of new and recent works, including the Australian premieres of two substantial new figurative sculptures: 'Doubting Thomas' and 'The Long Awaited'. While predominantly sculpture, the exhibition also features the first public presentation of Patricia's latest video work 'The Gathering'.

This solo exhibition of recent sculpture and painting extends Patricia's fascination the intersection of mechanical and organic forms. The show will feature the premiere of 'The Stags', a major new sculpture that follows on from 'Nest' (2006), as well as a selection of completely new paintings and the imposing and amorphous bronze sculpture titled 'The Uprising'.

Bloodline: The Evolution of Form is a thematic group exhibition featuring 15 sculptural works from a diverse selection of artists. The exhibition surveys the plurality of approaches to sculpture and art making: assemblage, the manufactured object, the figure, conceptual and political work, and multi-media installation. Exhibiting artists include major figures such as Rebecca Horn, George Segal, and Bernar Venet; well-known mid-career artists Donald Baechler, Stephen Dean, Tara Donovan, Patricia Piccinini, Jonathan Seliger, and Fred Wilson; and Texas artists Christian Eckart, The Art Guys, and Jeff Shore and Jon Fisher.

In the Land of Retinal Delights: The Juxtapoz School is an exhibition that presents the work of 150 artists and posits that there has been a huge, but unacknowledged art movement taking place in this country for the last 40 years. Since 1994, this ground swelling of lowbrow, surrealistic, pop, figurative, narrative work has coalesced and found a voice in the pages of Juxtapoz magazine published in San Francisco. This rag has become the most widely read art magazine in the US. It is an influencing force on the aspiring artists of Generation Y and the Millenials, who are now enrolling in art schools in numbers never seen before.

To Complement the exhibition Strange Cargo: Contemporary art as a state of encounter Piccinini will talk about her featured installation "Nature's Little Helpers: Surrogate (for the northern hairy nosed wombat)", as well as her career and recent work.

Admission to the artist's talk is free, however seating is limited, and bookings are essential.

This is Patricia Piccinini's first major solo museum exhibition in Spain. The show will feature a wide selection of recent work along with some earlier works to proved a broader understanding of the artist's work.

Global Feminisms, the first major exhibition to explore international feminist art at the turn of the 21st century, will inaugurate a portion of the new Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, the first such center in the world. Slated to tour to venues to be announced, the exhibition will be on view in Brooklyn from March 23, 2007 through July 1, 2007. Co-curated by Maura Reilly, Curator of the new Center, and the renowned art historian and feminist scholar Linda Nochlin, the exhibition brings together more than one hundred artists from over fifty countries. A portion of Global Feminisms will also be installed on the fourth floor of the Morris A. and Meyer Schapiro Wing, adjacent to the Elizabeth A. Sackler Center for Feminist Art.

This is Patricia Piccinini's first solo museum exhibition in the USA. The show will feature a range of recent sculpture, drawings, video and photographs. The exhibition will tour to the Frye Museum, in Seattle Washington.

<p>Photography has come to dominate the contemporary art scene but despite the photo rich days we live in, large-scale surveys of Australian photography are relatively rare. Light Sensitive seeks to redress this lack and features a major exhibition of work by early to mid-career Australian photographers. The exhibition comprises 65 photographs by 38 photographers including, Brook Andrew, Patricia Piccinini, Simon Cuthbert, Cherine Fahd, Rebecca Ann Hobbs, Simon Obarzanek, Selina Ou and Deborah Paauwe.</p>
<p>Light Sensitive comprises five themes and ranges from the 'uncanny' which includes evocative camera-less images called 'photograms' and surrealist-inspired images; 'new portraiture' which takes a time-honoured subject into fresh creative areas; a distinctive examination of physically (but not psychically) vacant spaces; documentary work that considers reality in provocative ways; and photographs that explore the complex nature of social groupings in our modern world.</p>
<p>All the photographs are part of the NGV's permanent collection and were acquired through a generous donation given by Mrs Loti Smorgon, A.O. The exhibition is accompanied by a fully illustrated publication, featuring an essay by the NGV Senior Curator of Photography, Isobel Crombie, along with extensive biographies.</p>